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Man is a little bit better than his reputation, and a little bit worse.
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To be really obvious about something, if somebody straps an M1 on your shoulder and throws you in Iraq, you're going to get a sense of what the hell's going on there. Boy, you'll wake up fast when bullets are flying over your head.
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The play is the source, it is orchestrated with words. In a movie, you are not dealing with as much as that. There are machines and wires. When you're acting for a camera, it keeps taking and never giving back.
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All due respect, and trying to be as modest as I can be: I am a dancer.
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Certainly the movies were always in the air for me. I come from the era when actors thought it was a big deal to be in the movies.
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Actors are always outsiders. It's necessary to be able to interpret - and that gets distorted when you become famous.
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When you do these things, you sort of take the journey. The journey is all about how I can interweave the Oscar Wilde story, the story of Salome, the play itself and what it is, what it contains, and my journey as an actor, as a director, as a filmmaker, as a person struggling with whatever I'm struggling with - my own celebrity, my own life. This is semi-autobiographical in terms of my commitment to this kind of thing.
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I never saw myself as a director. It's certainly a second language but making movies for 40 years, you pick stuff up. However, this style of making movies, this documentary style, is easier for me because I gather a lot of material and with an editor, write it on screen. You try to write based on what you shot.
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Being the actors of the craft, the trade, one of the big things you do and you learn is about repeating. There is something to the repeats. I think that is part of what is healthy to young actors. Get out and learn something just through doing that, repeating.
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Take a look at Israel's history and you would know who the terrorist is.
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You'll never be alone if you’ve got a book.
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We're charlatans in a way, we're magic people. Part of the behind the scenes stuff is to loosen you up, to make you feel that you are experiencing this. This is my style, I did it in Looking for Richard, too. And I figure, if I can weave it into the actual play and get the audience interested, like the robes going up and down, they'll pay attention long enough to consume it.
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I was playing a part of someone dealing dope on a street corner - and there was a guy actually dealing heroin right there. I looked at him, he looked at me, and I got real confused.
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"To be or not to be is" [by William Shakespeare] beyond anything I can comprehend. I understand it on a superficial level, but the depth of it just boggles my mind. I think it's probably the greatest of all speeches ever written.
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I come from the South Bronx - a true descendant of the melting pot. I grew up in a really mixed neighborhood; it was a very integrated life.
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I don't need bodyguards. I'm from the South Bronx.
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Opinions I have about anything are in my personal life.
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I went to Performing Arts because that was the only school that would accept me. My scholastic level was not very high.
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I want to be a great actor someday, and I've decided there's no use philosophizing; the only way is to work at my craft.
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We were doing Scarface many years ago...and I remember having my coffee and looking at the beach, the surf, and I saw a hundred people looking out into the ocean. I thought, what's going on? Did some whale get washed up to shore? So I stood up on the table to see what it was, and it was the director, Brian De Palma, standing there alone by the surf and they were all waiting for him. And I never forgot that because it represented to me what a director is, what a director does.
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I love work because it keeps sex in perspective. Otherwise, it can become a preoccupation.
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It's not personal, it's strictly business.
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Sometimes you're fighting corporations and forget that people can talk to each other.
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Off-Off-Broadway is absolutely necessary. It doesn't have to be sanctioned by the state, subsidized or anything. The plank and the passion is what it's about.